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1547
0877
1909
MAIN
THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
The John J. and Hanna M. McManus
Morris N. and Chesley V. Young
Collection
The fiEiT nmmin
w^
■MiiMWaMMMiiKi^f
Now
Revealed
How
/o escape
yrom
Iron I^oilep
Mail ia^
ulaas case
Iron Aojc
Coffm
Written tiy
FOR THE
FIRST TIME J
^aper ha^
ron hoHle
ffope ohau
Tram/^ en at/
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IJDINI
^50 Washington 31. Boston ,Hassj
'^ji^-
■i»l!?-3K-'r
\::^
Secrets of the Great Mysteries
NOW
Revealed for the First Time
HANDCUFFS IRON BOX IRON BOTTLE
IRON BOILER COFFIN ROPE CHAIR
MAIL BAG BAND BOX TRAMP CHAIR
GLASS CASE PAPER BAG PACKING CASE
STRAIGHT JACKET
A COMPLETE GUIDE
AND
Reliable Authority upon All Tricks
Full Elxplanatiop of How the Various Tricks
are Performed, witti Diagrams and Illustrations
WRITTEN AND PUBLISHED BY
The Handcuff King, " OUDINI"
II
Copyrig^hted 1909
By Frank J. Rowan and E. T. Stewart
All Rig:hts Reserved
LOAN STACK
GIFT
Notice.
This book, with all cuts, engravings, cover design,
etc., is protected by copyrights, and all persons are
warned against attempting to use, copy, or appropriate
them in any way. All such attempts will be prose-
cuted to the full extent of the law.
PREFACE
In publishing this book a faithful endeavor has
been made to present all the best tricks that the
author has performed, both in public, in theatres and
places of amusement, and in private. It is believed,
then, that this book is complete ; containing a greater
number of tricks in actual usage than any other work
yet published, with full explanations and illustrations
in regard to the various methods of escape, as used by
the author.
It would be impossible to print in one volume the
thousand and one tricks that are occasionally per-
formed. The larger proportion of such tricks have but
a temporary existence, performed to-day and forgot-
ten to-morrow. The ingenuity of the maker of new
tricks is endless, but his apparent genious generally
amounts to nothing more than the changing or
blending of one or two well-known tricks and the pro-
duction of an inferior trick.
During the time that I was exhibiting these acts
my methods of preparing for and exhibiting my tricks
was as follows : — As soon as I knew where I was
to play I would send my advance man to the city or
town to make arrangements. If there was to be an es-
cape from a packing case he would go to the best-
known store and have a case made and sent to the
theatre where the performance was to be given.
He paid for the case and made arrangements with the
firm to have one or two men, usually shippers, come
on the stage to fasten the performer in the case. Ad-
mission tickets were given to them. The firm making
the case becomes the challenger, and receives a great
deal of advertising from it.
On my arrival I would prepare all the apparatus
myself, never letting my helpers know how the tricks
860
6 THE GREAT MYSTERIES
were done. When the box arrived it would be placed
outside of the theatre with a sign on it giving the
name and address of the firm making it, and the date
when the performance was to take place.
At the time of the performance an invitation is al-
ways given for any of the audience who wish, to come
on the stage and investigate the apparatus, etc., and
to satisfy themselves that everything is being done
right. This committee is received by my assistant, in
uniform, who shows them to the chairs on the stage
while I am making my escape inside of the cabinet.
When I am ready for the cabinet to be removed, after
the escape, this assistant blows a whistle as a signal
for the stage hands to raise the cabinet, which is ac-
complished by means of a rope dropped over the
centre of the stage.
During my stay in a city or town I change my tricks
every day, giving new ones at each performance.
In the following pages you will find full descriptions
showing just how these tricks are worked; and you
must remember that, while they seem very simple and
easy after you have read the explanations, yet a great
deal of time and thought have been required to work
out these apparently simple tricks, and also that they
must be carried out with accuracy and smoothness,
as any hitch in the performance would look bad and
bring suspicion on the performer. He must not over-
look any detail or forget any part of his apparatus.
All this requires considerable experience, and careful
study of the work.
There will be found in the back of this book a few
selections from the numerous press clippings that have
appeared in newspapers and elsewhere in reference to
my work.
THE GREAT MYSTERIES
The Cabinet
Tiie cabinet is the first piece of apparatus to be
considered, as it is the principal thing in the work.
It is made of galvanized iron piping, five-eighths inch
in diameter, arranged as shown in Fig. 1, where the
curtains are drawn aside to show the interior con-
struction. There are three horizontal rods running
8 THE GREAT MYSTERIES
completely around it, and a vertical one in each side
besides the corner posts.
Where the rods intersect at the top there is placed
a ring bolt, to which is fastened a rope, dropped from
above the stage, so that the w^hole cabinet can be
raised, leaving the stage free. It is only lowered while
the escape is being made. The cabinet is open at the
bottom, but the sides and top are covered with red
velvet, stretched tightly over the framework. There
is also a lining inside, of red cloth, but not such ex-
pensive material as the outside. Thus the framework
never shows, either from the inside or the outside.
Some performers use a stationary cabinet and move
'.lie curtains aside to enter it, but I have found this
kind preferable.
The various instruments, keys, etc., which are to
be used in the different acts must be concealed in the
cabinet, but must not show when it is examined.
Therefore they are placed in the horizontal tubing,
v.hich is prepared by having the upper side of the
tube cut away for a large part of its length, leaving
the lower part to form a pocket in which they may
THE GREAT MYSTERIES 9
be hidden, as shown in Fig 3, and covered by the vel-
vet and the lining. Fig. 2 shows a section through
the rod, with the lower, or solid, part shaded, and
cloth on both sides of it. The lining has openings at
convenient points through which the keys, etc., may
be reached. The performer must, of course, know his
different keys and the location of each one, so that
he can place his hand on any one instantly, from any
position in which he may be placed.
10 Tim GREAT MYSTERIES
The Handcuff Expose
It has always been a most mystifying thing to the
spectators, to witness the escape of a performer after
being locked in handcuffs, leg irons, and chains. To
see him free himself from them in less time than it
took to place them on him has seemed to most people
so near to the impossible as to border on the super-
natural.
It is, however, like many of our best tricks, a simple
one for those who are acquainted with the secret. Up
to the present tim.e this secret has been known to very
few persons.
Now it must be remembered that handcuffs such
as are used by our modern policemen are constructed
with soring locks, which are opened by means of a
key, which is placed in the lock and turned to the
right or left to release the spring.
Handcuff' kings use what is known as a pick or
reach key in escaping from all handcuffs. And herein
lies the whole secret: The performer uses all his in-
genuity in concealing his keys and picks about his
person or inside of his cabinet, which is generally con-
structed of piping, with additional pieces which appear
to be regular portions of the framework, but are only
"ntended for keys, tools, etc. Other keys the per-
former has in sundry pockets especially made for this
act, and so arranged that he is able to place has hand
upon any key he may want, when placed in any posi-
tion. In case he finds it impossible to reach the key
he wishes to use while locked or chained in a certain
position, as for instance in Fig. 3, he can find dupli-
cate keys concealed in the framework of his cabinet,
THE GREAT MYSTERIES
11
as described previously in this work. When working
in a suit without pockets, as in Figs. 1, 2, and 4, the
keys must all be obtained from the cabinet.
12 THE GREAT' MYSTERIES
Let us now turn to the photographs, which have
been especially taken for this book, and which will
render the whole process very clear. In Fig. 1 the
performer is fastened in two pairs of handcuffs, in
THE GREAT MYSTERIES
13
14 THE GREAT MYSTERIES
such a position that it seems impossible that he can
ever free himself.
By retiring to his cabinet and reaching for his keys,
he is able to open the handcuffs and remove them.
THE GREAT MYSTERIES 15
This can be done by moving the right hand, holding
the key, around until it can be inserted in the hand-
cuff on the left hand. The chains between the cuffs
are loose enough to. allow this motion. His first pair
of cuffs to come off are the ones to the left. The other
pair can be taken off easily with a second key.
The handcuffs in this cut are known as the Bean
handcuffs and the old English Darby cuff. These are
further described in the chapter on handcuffs and keys.
In Fig. 2 the performer is fastened in three pairs
of handcuffs, two large chains, one pair of leg irons
and two padlock^. To release himself he takes h.s
keys from his shoes and takes off the padlocks first
and then the chains. The weight of the chains now
being off*, he can now remove the handcuffs more
quickly than if the chains were on. He now releases
the leg irons, which leaves him free.
Fig. 3 shows the performer placed in one pair of
handcuffs, one chain, one lock, and a pair of irons
around his arms. To release himself, he first takes o T
the handcuffs, then the chains, and then the leg irons
around his arms.
The handcuffs in Figs. 2 and 4 are one pair of
figure eight handcuffs, one pair of Tower handcuffs,
which have a double lock, and one pair of Bean hand-
cuffs and Bean leg irons.
In Fig. 4 the hands are fastened behind the back,
and leg irons placed on the arms. These are connected
with chains and padlocks. With his experience the
performer is able to readily locate the keyholes and
quickly remove them, as described under Figs. 1 and 2.
Now that the methods have been explained and
illustrated it will be readily seen that there is nothing
supernatural about the handcuff manipulation.
16 THE GREAT MYSTERIES
The Iron Boiler
An iron boiler, such as is used by hotels, is seen
upon the stage. This is examined by the committee
to see that there is no defect. The performer is seen
to enter the boiler. The cover is then placed on and
two rods are run through the boiler and the cover, at
right angles to each other, and padlocks placed through
holes in the ends of the rods, (four in all), to prevent
the cover from being removed from the inside. The
cabinet is then placed around the boiler, and after 10
or 15 minutes the performer appears, free, before the
audience. Again the committee examines the boiler,
which still has the cover in place and locked on. No
one can discover how the escape was made or can see
any change in the apparatus.
With the aid of the accompanying cuts the process
will be shown. Fig. 3 shows the appearance of boiler
with cover in place. The body of the boiler, "A," is
made of heavy galvanized iron, strongly riveted to-
gether. The cover is perfectly solid except for the air
holes, as shown. The rods ''D" are metal, about five-
eighths inch thick. These rods, while having the ap-
pearance of hard steel, are really made of softer steel,
which can be bent or cut with a hack saw. Fig. 4 is
a section showing how the cover fits inside the end of
the boiler, and is held in place with the rods.
To Escape. — The rods are grasped in the middle and
can be bent and broken, after which they are pushed
out and fall to the floor. If the rods cannot be broken
the performer must have a small hack saw or file con-
cealed about him with which to cut them.
THE GREAT MYSTERIES
17
The cover can now be removed and the escape made.
There are two substitute rods of hard metal, concealed
A\r \yo\e. s
ft
in the cabinet. These are now put in place through
the holes, the padlocks are removed from the broken
or cut rods, by means of duplicate keys or pick, and
18
THE GREAT MYSTERIES
placed in the ends of the substitute rods, so that the
boiler now has the same appearance as at first.
e^.
Section ihrouon boiler.
ficj.4-
The trick can also be performed by the use of bolts,
the same as the iron box trick, which is described
in another chapter.
THE GREAT MYSTERIES 19
The Mail Bag
The committee from the audience examines the mail
bag carefully, inside and out, and find it perfect in
every respect, with no opening except at the top ;
which can be securely fastened, as described and shown
in cuts.
The bag is made of leather and canvas, and is
almost air tight. The canvas part of the bag is sewed
by machine to make it strong; the leather part of the
bag is sewed and riveted to the canvas. Fig. 1 shows
the style and appearance of the bag to be used. "A"
shows canvas part of bag, made large enough for the
performer to move around inside. "B" shows the
leather, part of the bag, which lifts back to allow
entrance to the bag. "C," the leather strap which is
to pass through the hasps to fasten the leather top in
place. **D" the hasps that the strap passes through.
"E" the lock. (If a Corbin lock is used, with the key-
hole on the bottom, the escape can be made much
quicker and easier.) "F" a small strap which is used
to help close the opening on the end so that the per-
former can not pass his hand out while he is inside.
''G" a small opening between the bag and the flap.
Fig. 2 shows appearance of the bag when opened
ready for the performer to step in.
How to Prepare for the Escape. — The performer
must have a duplicate key for the lock which is used.
This is fastened to a string, as shown in Fig. 3, and
the other end of the string tied inside of the clothing,
so that it cannot be lost during the act. The per-
former now steps into the bag. Fig. 2, and is locked
20
THE GREAT MYSTERIES
securely as in Fig. 1, after which the cabinet is placed
around him. He now takes out his key, sees that it
is securely tied to one end of the string-, leaving the
other end still tied to some portion of his clothing,
as it would be a serious matter to lose the key, and the
escape would become impossible, and pushes the key
out through the small opening between the bag and
Mail Baq fig. 1
the flap, as shown in Figs. 1 and 3. After the key is
pushed out he leans over so that the key comes on the
upper side and its weight holds it against the canvas.
Now, by taking a fold of the canvas in his hand, he can
grasp the key and fish for the lock. Having found
the key hole he can insert and turn the key and re-
THE GREAT MYSTERIES
21
move the lock, then pull out the strap "C" from the
hasps and open the flap. He now steps out. The bag
is now to be closed and locked exactly as it was with
the performer inside, the keys concealed, the assistant
is signalled, and the cabinet removed, showing the
audience the bag and performer just as they saw them
at the beginning of the act.
Fi9 z
The author has also performed this act handcuffed
and shackled before being placed in the bag, escap-
ing in the same time as with the bag alone. He has
worn six pair of handcuffs of different makes, two
chains, and three makes of leg irons, and several locks.
22
THE GREAT MYSTERIES
This is done as follows : While the bag is being locked
by the committee he is removing the handcuffs, as de-
scribed in our chapter on handcuffs, starting as soon
as the flap is closed over the top. By the time the
bag is locked and the cabinet in place he has the hand-
cuffs off ; he then starts the escape from the bag, and
y
after leaving the bag removes his leg irons. All the
cuffs, irons, chains, etc., are then placed in the bag,
the cuffs open and the bag locked as before.
When w^ell executed this act is very effective, espe-
cially with the addition of handcuffs, etc., and always
receives much applause.
THE GREAT MYSTERIES
23
The Glass Case
The glass case used in this act is made to order, and
is quite expensive, being made of one-quarter inch
glass on the sides and top, and three-eighths inch glass
on the bottom. All this has to be drilled to take the
Glass case.
bolts for the corner angles and hinges. The case, as
it appears on the stage when closed and locked, is
shown in Fig. 1.
24
THE GREAT MYSTERIES
The sides "A" are solid, except for air holes on the
two ends. These are held together by clamps "B,"
shown at larger scale in Fig. 4. The top *'C" is held
by the hinges "D," shown full-size in Fig. 5. Fig. 2
Top
/% Cjlas
es
/ BoHom .% C]|a55
V/i-V/////^^^/^^ //^ ^ ^^^ ^.
rig. Z
is a section showing sizes and arrangement of top,
bottom and side. Fig. 3 shows at full-size how the
clamps are fastened to the glass. The round-headed
bolt is passed through a hole in the glass, with leather
washers next to the glass on each side, then it passes
through the clamp, after which another washer is put
on, and a small padlock passed through a small hole
in the bolt and locked in place. There are two of
THE GREAT MYSTERIES
25
these padlocks to each hasp, and there are sixteen
hasps in all.
The bolts are all made solid except those for the
hinges, which are made as shown in Fig. 5. The
heads of these, while appearing to be made solid on
the bolt, are really made with a thread, and the bolt
«,icle or cae»e
Leather
washera
Insid
Ouf stele,
cf" case .
is tapped to receive it, so that the head can be re-
moved.
To Escape. — The heads are removed from the hinge
bolts by means of the horseshoe key, which is also
shown in Fig. 5, and which fits into the small holes
26 THE GREAT MYSTERIES
shown in the bolt head. When these heads are re-
.XI
£^
Fig. 4-
moved the bolts can be pushed out through the back
of the case, which will allow the hinges to hang free
"top
Hinae
'/ci Glass
back
THE GREAT MYSTERIES 27
from the glass, and the cover can be lifted up enough
to make the escape without disturbing the front hasps
or bolts. It will be noticed, in this and other tricks,
that a great part of the effect is gained by making the
escape through some part of the apparatus which is
not suspected by the audience, leaving that part on
which their attention is fixed untouched.
After escaping from the case the performer must
replace the hinges, bolts, etc., which is done as in the
iron box trick. That is by removing the padlocks,
screwing on the bolt heads, and then drawing the bolts
through the holes in the glass by means of strings tied
through the holes in bolts, after which the padlocks
are snapped in place.
The cabinet may now be raised and the act is com-
pleted. I
28
THE GREAT MYSTERIES
The Iron Box
This trick is one of the best I have ever exhibited
in public, for it appears to the audience to be impos-
sible to execute, and is extremely mystifying. It is,
however, not difficult if the secret is known.
Effect. — When the curtain rises the iron box is
seen in the centre of the stage, with six chairs on
either side of it for the use of the committee from the
audience, while they are waiting for the performer to
appear after making his escape from the box. An
attendant in livery makes arrangements for the per-
former, and the committee referees the proceedings.
The box is very solid, made of one-eight inch iron
Iron box
sheets, and strongly riveted at all angles and corners.
The cover is the same. Four holes, one in each side of
the cover, come opposite similar holes in the top edge
of the box. These are for the bolts to pass through
to fasten the cover on.
The committee thoroughly examines the box, inside
and out, cover, bolts, etc., until satisfied that all are
THE GREAT MYSTERIES
29
perfect. The performer now comes on the stage, ad-
dresses the audience, accepting the challenge to escape
from the box and issues a challenge to them for any-
one to bring him any article they may wish for him to
escape from, under certain restrictions. He then steps
into the box. The cover is placed on by the commit-
tee and the bolts passed out from the inside through
the holes just mentioned, and shown in Fig. 1. The
nuts are screwed on tightly and the cotter pins put in
place, so that the nuts cannot be removed or the bolts
screwed out of the nuts.
3 O 000*0000 "jvlO^
ooo OO o OOOO
Ftcj. Z.
The cabinet is now placed in position around the
box, and the committee is seated, and waits for the
appearance of the performer after Jiis escape. In a
few minutes he appears and the box is immediately
examined. It is found to be exactly as it was left by
the committee, with all the bolts, etc., in place and
no means of escape found.
Explanation. — The method of escape is as follows :
When the bolts are passed out through the holes in
the cover, the solid bolts shown in Fig. 4 are not used,
30
THE GREAT MYSTERIES
but those shown in Fig. 3 are substituted. In this
bolt the head "C" can be removed from the bolt "D."
This is the head on the inside of the box, and it will
be noticed that it is never seen by the committee, so
no suspicion is aroused. The outside of the bolt is
exactly the same as Fig. 4.
fi
§*•
The heads of these bolts are removed by means of
a small wrench which has been concealed until this
time, and the bolts can be pushed out until they fall
to the floor, allowing the cover to be lifted and the
escape made. After the escape it is necessary to re-
turn the box to its original position, which requires
a little more thought. The original four bolts. Fig. 4,
are placed in the box, but the nuts are removed and
kept outside. A long string is tied through the hole
in each bolt and passed out through the four holes
in the sides of the box, leaving the bolts on the
THE GREAT MYSTERIES
31
bottom. Now the ends of the strings are passed out
through the holes in the cover and a small stick tied
to the end of each string to prevent it from slipping
back into the box w^hile working on the others. The
cover is now placed on so that the holes come opposite
Fi
those in the box, and the bolts are drawn up and out
through the sides of box by means of strings. Now
the strings are removed, the nuts screwed on, and the
cotter pins placed through the holes in bolts. As soon
as the strings and extra bolts have been concealed the
cabinet may be removed, showing the box still bolted
and the performer outride of it.
32
THE GREAT MYSTERIES
The Coffin
This is a most spectacular act, and gives an appear-
ance of great mystery. A wooden casket is seen upon
the 'stage and carefully examined by the committee.
F»
3-
1
The cover is securely screwed on with two-inch screws,
and the screws sealed by placing a one-cent stamp
Fig
%
over the head of each one. The method of escape will
be made clear by the accompanying cuts.
THE GREAT MYSTERIES 26
Fig. 1 shows the appearance of coffin before the cover
is placed on, and Fig. 2 shows the same with the cover
in place. Fig. 3 is the bottom which is to be removed
in making the escape. "A" represents holes through
J o
Ft
g. a - 5o^:io
m
which dowels are inserted, and in these dowels the
long screws are placed. Thus, while the bottom ap-
pears to be firmly screwed on to the sides, the screws
really do nothing but hold the dowels to the bottom.
Fig. 4 is the top cover of casket, with the screw
holes "B," fourteen in all. This cover, when in place,
Fig. 4- - Top
extends one-third of an inch beyond the sides of the
casket. Fig. 5 shows the manner in which the screw
sets into the dowel, also the manner in which the
34
THE GREAT MYSTERIES
dowel sets into the board. ''A" is the side board,
'*B" the screw, and "C" the dowel.
The method of escape is as follows : On the bottom
board, Fig. 3, there are fourteen dowels like that
shown in Fig. 5. These set into Fig. 3 at "A-A."
After the dowels are in place and the casket looks as
THE GREAT MYSTERIES 35
in Fig. 2, the bottom cannot be taken off from the
outside.
When the cabinet is in place the performer simply
puts his hands on the cover and pushes upward, which
lifts off the top and sides, leaving the bottom lying
on the floor with the performer free. He now replaces
the bottom by turning the casket upside down and
putting the dowels in position again. The casket is
now placed in position again and the cabinet removed,
showing the act completed.
This trick will make a fine appearance if, in addi-
tion, ropes and handcuffs are used.
36
THE GREAT MYSTERIES
The Band Box
The Bandbox trick is a most mystifying one; from
the nature of the material, it would seem that any
attempt to make an escape would be shown by the
box afterward.
The box used is in two parts, as shown in Fig. 1 and
Fig. 2. The inner part, Fig. 1, is open at the top; and
after the performer has entered it the outer part, Fig.
2, is placed over it. This part fits on loosely, because
otherwise the air would escape so slowly between the
sides of the two parts that it would be difficult to get
it on or off. The material of which the box is made
is heavy pasteboard, such as is generally used for this
purpose.
After the performer is inside and the cover in place,
ropes are tied around the entire box, both ways, with
the knots on top. Of course the box could not be
lifted with a man in it, therefore the ropes which pass
under the box have been placed there before he enters
it.
THE GREAT MYSTERIES
37
To escape, the rope must be reached and cut, and
this is accomplished by means of specially shaped
knives, which can be placed at the end of lengthen-
ing bars (Figs. 1 and 2) as shown in the illustrations
Fope
1
L
Rop e.
Ou-lrc-r CxDver
Inner B>o>i
Knjj^e wL-lh
join-fed hanale
/ ^<^P'
Fi
on the opposite page. From the dimensions given it
will be seen they can be concealed about the clothing
before entering the box. The different parts are then
screwed together, making a handle long enough to
38 THE GREAT MYSTERIES
•
reach from the top to the bottom of the box. With
this he reaches down between the sides and cuts the
rope. Sometimes the flat knife (Figs. 3 and 4) will
do it and sometimes the curved one (Fig. 5), or the
hooked one (Fig. 6), must be used. It will be appar-
ant that the work must be done very quickly, for the
air in the small space would soon be exhausted, mak-
ing it impossible to stay in it more than a minute or
two. Therefore the knives, etc., must work perfectly
and be used rapidly.
After cutting the rope the top is lifted off and the
escape made. It is then placed back again, and a
duplicate rope is tied on in the same way as the first
one. This rope has been concealed around the waist
under the coat, and the cut rope is now concealed in
the same way, after which all is ready for the removal
of the canopy.
I
^^=^^
full
^ixe.
Knicre^ u&ecl in.
escaping from bandbox. ^^
Fig. 6
40
THE GREAT MYSTERIES
The Paper Bag
A paper bag about seven feet high and two feet
across is Seen upon the stage. A committee from the
audience is invited upon the stage to examine the bag,
w^hich is found to be w^ithout any break or opening of
any kind except the opening at the mouth of the bag.
After being securely tied in this bag the performer
escapes from it in a fev^ minutes, leaving the bag in
the same condition as it was at first.
,."", Arrange
^"^ of strjn
me
n-t
f la. 1
fig
Z
Pape-r 5ag
THE GREAT MYSTERIES
41
Reference to the accompanying illustrations will ren-
der the proceeding very clear. Fig. 1 shows the style
and appearance of the bag to be used.
Fig. 2 shows the appearance of the bag after the per-
former has been placed inside and the mouth of the
r[<^.z>
rig. 4
bag securely tied with cord. Glue or wax is also placed
in the mouth of the bag as a further precaution.
The method of escape is as follows : In the seam
caused by the lapping of the two edges of the paper
there is placed a string arranged as shown in Fig. 3,
starting about eight inches from the top of bag, and
with the lower end about six inches from the bottom.
The end of string is allowed to project about one-third
of an inch from the inside of the bag to allow the per-
former to get hold of the string.
42 THE GREAT MYSTERIES
Of course this part has to be arranged before the per-
formance, although a bag may be used which has been
furnished by challenging parties if necessary.
When he has been placed inside the bag and the
opening secured as described in Fig. 2, the performer
takes hold of the projecting string and pulls upward,
which releases the string and causes the seam to open
for the entire distance that the string was concealed,
as shown in Fig. 4. Through this opening the escape is
made.
After emerging from the bag it is necessary to re-
place the parts in the original position, so that the bag
will have the same appearance as at the beginning of
the act. This is accomplished by pasting the edges
of the seam together as they were in the first place,
and allowing time for the paste to dry before having
the canopy opened or removed.
It should be noted that the seam is held together at
first with a flour paste which will separate easily when
the string is pulled, but the paste used after escaping
should be a quick-drying glue which should dry in two
or three minutes. Thus the act can be entirely accom-
plished in five to eight minutes.
THE GREAT MYSTERIES
43
The Iron Bottle
An iron bottle, having the appearance shown in the
upper figure, is seen standing on the stage, and is
shown to the committee for examination. It is found
to be made in one piece, of iron of the same thickness
■a
-xe,
3a
r<
Djamefer .
I
ron
boHl
as that used in the iron box. The cover is made of the
same material and fits closely over the top of the
bottle. Through the top edge of the bottle there are
four holes, and in the cover four corresponding holes
through which rods can be placed.
These rods are then fastened with the padlocks
through the holes in the end, as shown.
44
THE GREAT MYSTERIES
This trick is a variation of the iron boiler trick. The
rods are made of soft untempered steel, and to escape
the performer bends them downward. Sometimes they
will break upon being bent, and sometimes they must
be cut with a hack saw or file. Then they are pushed
Top Vieoj
out of the holes, the cover lifted and the escape made.
The substitute rods are then put in place and the pad-
locks put on again.
This trick can also be performed with bolts, the same
as the iron box trick.
THE GREAT MYSTERIES 45
How to Escape from the Roped Chair
It is a very mystifying thing to an audience to see
a man securely tied to a chair with about thirty feet of
rope, with his hands tied together behind the chair,
and his legs and feet tied to the chair legs, and yet
see him make his escape in about five minutes.
The author has repeatedly done this, being tied in
all kinds of ways, and in some cases where it seemed
impossible to escape, but has always succeeded in doing
so.
This act is performed in direct view of the audience,
and does not depend upon any trick or deception, but
is really the result of practice, muscular expansion and
contraction, and a knowledge of the properties of the
rope used. Any man with sufficient practice and con-
fidence could learn to do it.
The writer does it as follows. First he specifies the
rope to be used, and selects a new clothes line. He
makes no restrictions as to methods of tying or kinds
of knots to be used, but while being tied he relaxes
the muscles of the body, and draws in the chest as
much as possible. At the same time he expands the
muscles of the arms and legs. The muscles are kept
well developed so as to produce the greatest effect in
doing this.
Now, after the committee has tied him to their sat-
isfaction, he expands his chest and the muscles of his
body as much as possible. This causes the rope to
stretch quite a little. This is the reason a new clothes
line is selected. It will stretch more than an old one,
which has had the life taken out of it, and a clothes
line will stretch more than most other kinds of rope.
46 THE GREAT MYSTERIES
This expansion may have to be repeated quite a num-
ber of times, stretching the rope a little more each
time.
Now all the muscles on the body, arms and legs are
contracted, and it is found that the rope hangs quite
loosely. The hands are then worked until they are
free, or can reach some knot which will release some
portion of the rope, after which he simply continues
the same process until the rope is all removed.
In order that the methods may not be too apparent,
and to make the act more striking, the performer does
not remain in one place, but pulls the chair to its side
and rolls about on the stage during the escape, some-
times in view of the audience and sometimes concealed
behind the chair.
THE GREAT MYSTERIES
47
Tramp Chair Escape
A tramp chair, such as the farmers of Maine once
used to keep tramps in overnight, is seen upon the
Fig. I
Tr,amp Chair,
stage. This is made of heavy iron straps interlaced
as shown in the illustrations. It is provided with a
seat inside, and is fastened by placing a padlock
48
THE GREAT MYSTERIES
through two hasps, ofie of which is attached to the
front corner and one to the door, so that when the door
is closed they come one over the other and close to-
gether. There is an iron plate on the door behind the
lock to prevent it from being reached from the inside.
rig-, a
Tpamp Chair.
The door is hung on a long hinge running the full
length of the door. The floor is of solid sheet metal.
The appearance of the tramp chair is shown in Fig.
1, and it looks like Fig. 2 when it is closed. The per-
THE GREAT MYSTERIES
49
l.f
Fig. 5
former is placed inside and the padlock is slipped
through the hasps and locked. As an additional pre-
50 THE GREAT MYSTERIES
caution chains are passed back and forth through the
openings or the iron straps, and these are also fastened
with padlocks as shown in Fig. 2. All this has been
done by the committee after they have made a thor-
ough examination of all the apparatus, and the per-
former now seems very securely fastened in.
Method of Escape. — Referring to Fig. 3b, it will be
seen that there is a special arrangement of the upper
section of the long hinge. By reaching through the
openings the rod can be pulled down until the round
knob can be reached. This is then grasped between
two fingers and unscrewed. It can now be re-
moved. This will allow the rod to be lifted through
the hinge until it is entirely removed through the top,
after which the two parts of the hinge will come apart.
The door can now be swung open on the hinge side
without touching the side where the locks and chains
are.
The performer can now step out through the opening
and close the door again, fitting the parts of the hinge
back into their places. Then the rod is slipped down
into the hinge again and the knob screwed on the top
end of it. After this the rod is raised until the knob
is out of sight in the upper section of the hinge, and
the escape is completed, ready for the removal of the
canopy. This trick is one of the most baffling to those
who do not know the secret, for everything seems so
secure and solid that escape appears impossible, and
the hinge would be the last place to be suspected.
THE GREAT MYSTERIES 51
The Packing Case
The packing case used in this trick is large enough
to hold the performer easily, about three feet each way.
It is made of ^-inch white pine boards with all joints
matched, and is strongly nailed with 8 or 10 penny wire
nails. It is fitted with strong hinges and hasps, which
are fastened with padlocks. This case is one that is
carried with him by the performer, but he can also
escape from a case which is made outside and brought
in on a challenge. This method will be explained
shortly.
The committee is allowed to examine the box, etc.,
and to use their own padlocks in fastening the hasps.
As each member of the committee may have a padlock
of their own that they wish to use, and as only two
can be used, there is frequently a dispute among them
as to which shall be used.
The performer allows them to settle this among
themselves and is then placed in the case, the cover
is closed and locked, the cabinet is placed over it, and
in a few minutes the escape is made, the canopy re-
moved and the packing case shown to the audience,
locked, etc., the same as at first.
Referring now to the cuts, we will explain the
process. Fig. 1 shows the packing case as it appears
open at the commencement of the act. Fig. 2 shows
the case closed after the performer has been placed
in it, and the padlocks in place. Fig. 3 shows the sec-
tion of the case wherein the trick lies. This is a sec-
tion through the front corner of the case, looking down.
"A" is the front board of the case on which the locks
are placed. "B" the cleat which runs entirely around
the top of the case, inside, as shown in the open view.
Fig. 1. This cleat is fastened with screws all around,
One of which is shown in "C," Fig. 3. There are three
52
THE GREAT MYSTERIES
screws in each cleat. "D" is the hasp that holds the
lock and cover in place, and which are held on by the
screws "E," which are really machine screws, but have
heads giving the appearance of ordinary wood screws.
These screws are fastened on with nuts on the inside
of the front boards, and the front cleat has counter
sunk holes "R," so as to fit over these nuts and lie
close to the case.
ri
9
To Escape. — xA^fter the performer is in the box and
the cabinet in place, he takes a small screw driver
which he has concealed about him and removes the
three, screws from the front cleat. Fig. 3, "C," and re-
moves the cleat. This allows him to get at the nuts,.
THE GREAT MYSTERIES
S3
.four in each hasp, which he now removes. He can now
push out the machine screws **E/' which will free the
locks from the front of the case. This will allow the
cover to lift up and the performer can step out.
He now takes off the locks from the hasp and puts
the hasps back in place, fastening them on again with
the little nuts. Then the cleat '*B" is fastened on again
with the screws "C." The cover is now closed, and
fig
%'
the padlocks, which have been opened with duplicate
keys, sprung in place on the hasps, and the case is
locked as at first, and shows no signs of having been
tampered with.
Handcuffs can also be used in this act, as described
elsewhere in this book.
The escape from a box which has been prepared, and
has the cover nailed on, is as follows. The performer
has concealed on his person a very compact jack
worked by a rachet, which is made in sections so as
to be carried in different parts of the clothing. When
54
THE GREAT MYSTERIES
this is put together it has sufficient leverage to pry off
one of the boards, through which the escape is made.
This is generally a top board, because these are not
matched. The jack is held against the hip or shoulder
and worked first at one end of the board and then at
the other, so as to pry out the nails evenly. If the
boards are matched, the whole side of the box must be
pried off, which will take a little longer. After escap-
ing the nails are fitted ]Dack in the same holes and
forced into place, using the jack also to do this. If
carefully done this will not make a noticeable noise,
and there will be no marks to show on the wood.
This also can be performed by using dowels, the
same as described in the escape from the coffin.
THE GREAT MYSTERIES 55
Escape from Straight Jacket.
This act is also performed in view of the audience.
The performer stands in the centre of the stage and
the straight jacket is examined and placed on him by
the committee.
The regulation straight jacket is made of canvas,
with long sleeves, which are closed at the ends, and
are provided with strings running from the ends. It
is placed on as if it were a vest with the opening to-
ward the back, and is then laced up the back, fitting
closely and tied with knots. Then the sleeves are
crossed over the chest and tied with the strings behind
the back. This prevents the use of the hands or arms,
and in the case of a violent or insane patient prevents
them from injuring themselves or others. A strap is
then tied underneath to prevent it from coming up.
This act, like the escape from the chair and rope,
depends mostly on practice and considerable strength.
The first object of the performer is to pull the arms
over the head. To do this he works his arms until the
rope stretches somewhat, and perhaps the knots will
give a little. After working for a few moments he
finds that he can pull his arms over his head. This
gives much more freedom to the arms, and he can
move them about easily. He now gets hold of the
knots through the canvas of the sleeves and unties
them, after which he can pull out the lacing. Next
he unbuckles the strap at the bottom of the jacket and
slips the whole thing over his head.
This act can usually be accomplished in about five
minutes if necessary, but more time is usually taken
so that it will not appear too easy. As in the escape
from the chair, the performer usually rolls about on
the stage during the act, for the same reason as stated
in the former description.
Many handcuff kings use straight jackets which have
been prepared so that they can remove them in a
minute or two, but the above description applies to
the one which is used in hospitals, jails, etc.
56
THE GREAT MYSTERIES
tjow to Escape from the Bean Giant Handcuff
The Bean Giant handcuffs, so called from the in-
ventor, Captain Bean, are known all over this country
to the police and handcuff kings as the hardest cuff
to escape from if placed on with the hands behind
the back and the keyhole toward the body, as shown
in Fig 5.
Pig
1
Fig. 1 shows the appearance of the Bean handcuff.
Fig. 2 is the original key that comes with the cuff.
Fig. 3 shows what is known as the Bean Giant reach
key. Fig. 4 is the pick, which is made from a button-
hook, straightened out, and which will open the cuff
a good deal quicker than the key itself.
THE GREAT MYSTERIES 57
Fig. 5 shows the performer placed in one pair of
Bean Giant handcuffs with the hands behind the back
and the keyhole toward the body; a most difficult
position to escape from.
Fig. 6 shows the chair to be used, which has the
appearance of an ordinary chair, but which has been
prepared as shown in Fig. 8, and is used in the posi-
tion shown in Fig. 7. Fig. 8 is an enlarged view of
the end of the leg which has been prepared. It has a
ri<
saw cut as shown, but which is so small that it would
not be noticed in an ordinary examination, and even if
noticed its use would not be guessed.
The performer enters the cabinet and turns the chair
on its back as shown in Fig. 7, bringing the leg with
the saw cut up and forward. He now bends to his
knees beside the chair with his face towards the chair
back, and brings his hands in contact with the end of
58
THE GREAT MYSTERIES
the chair leg, having first placed in the saw cut the
pick or key where it is firmly held. The pick is pre-
ferable to the key in this case, as the key will some-
Fig. 5
times break under the severe test. The cuffs, being
thus placed in contact with the pick or key, when the
correct position has been taken it will enter the key-
hole and the lock will be sprung open, allowing one
side of the cuff to be removed. After this the other
side may be removed more easily, completing the act.
It must be understood that this trick is not so easy
to learn or to execute as might be supposed by reading
this description. The author spent many weeks of
THE GREAT MYSTERIES
59
practice before finding the best position for holding
the hands and body.
W/y '
If only a running suit is worn the key may be con-
cealed by being tied around the leg, or it may be kept
in the cabinet, or placed under the sole of the foot with
glue.
After removing the cuffs, the key is taken from the
chair leg and concealed, the chair is set in position
agajn, and the performer shows the open handcuffs
to the audience or challenger.
Up to the present time the author, Oudini, has been
the only man possessing the secret of this escape, and
to the best of his knowledge and belief it has been
60
THE GREAT MYSTERIES
unsuccessfully tried by any other man in the business.
He is still open to challenge in regard to it.
fig. 6
The chair is kept from sliding by being placed
against the side of the cabinet, and is further held, if
necessary, by placing the knee in the lower part.
If this act is performed in a dress suit, as is usually
done, the pick or key is concealed about the clothing.
THE GREAT MYSTERIES 61
Description of Handcuffs
Until about five years ago, people who were not
particularly interested in the subject or who had no
connection with police methods were entirely unfa-
miliar with handcuffs. To-day, however, owing to
the public exhibitions of handcuff kings, who make
their escape from any handcuff presented to them, the
public has become more used to the appearance and
working of them, and often the make of the more
common ones can be recognized. So the subject is
not so mysterious as it was formerly. The methods
of escape, however, have been very mystifying until
now, when we propose to tell just how the trick is
done. This will be found in this book under "Hand-
cuff Manipulation."
We will here describe a few forms of handcuffs
which are shown in the accompanying pages. The
figure eight cuff comes from England. This cuff is
named from its peculiar shape, and is made in one
piece, having only one lock instead of two, as the
Darby cuffs have. One variety of this cuff is in gen-
eral use in Ireland.
You will sometimes see a handcuff king, when
placed in a pair of handcuffs, remove them easily by
striking them a sharp blow on his boot heel or other
hard object, without taking the trouble to retire to
his cabinet. This can be done with some of the Eng-
lish cuffs, but cannot done with other makes, as for
instance the German cuff known as the Stotz. This
is the only type of German cuff generally known or
used in this country. The lock is similar to the Darby
cuff, but it is lighter and of finer finish than the Eng-
lish cuff.
The leg irons known as the Lilley iron is very un-
usual in shape, and, as can be seen from the cut, very
effective. It was invented by a sergeant of marines
62 THE GREAT MYSTERIES
in the U. S. army, but who was really a Frenchman,
during the civil war. This pattern of leg Irons was
used in the confederate prisons during the war on
Union prisoners. A curious fact is that the inventor,
while under temporary restraint, died in a pair of his
own irons.
An interesting variety of cufif is known as the thumb
cuff, and is used as its name suggests. This type is
not new. It was used in the Bastille during the French
Revolution on political prisoners. A later type of this
cuff was invented by Captain Bean of the Boston
police force, who also invented the cuff known as the
Bean Giant, which we show and describe in another
place. The thumb cuff is very small and light, and
at first sight it would not appear to be very effective,
but when placed on it will hold the most powerful
prisoner, for all his efforts only make it tighter, and
he has no way to use his strength in removing it.
The Darby cuff, which has been mentioned, is an
English cuff. They were formerly in general use all
over the world, especially on shipboard, but have now
been mostly replaced by lighter and more modern
styles. They are opened by a large key, which must
be turned a certain number of times in one direction,
and then pulled in another. It takes some time to open
them, but, on the other hand, they may be opened
by striking the hinge sharply against a solid sub-
stance, as mentioned above.
The cuffs of American invention are more numerous
and show more ingenuity than those of any other
country.
THE GREAT MYSTERIES
63
A Few Pairs of Modern and Antique Handcuffs,
Nippers and Twisters, with Picks and Keys
Bean Cuff, Rare
64
THE GREAT MYSTERIES
An^^LQue kancl iron
Tower single lock hanclcu4r
THE GREAT MYSTERIES
65
E>lcLkcLeus>2>
police nipperd
Cham tu;t2)'ter&
PhilUps, nippers
66
THE GREAT MYSTERIES
RoTDiers
nandcu
tr
Y:>ean lea irons
THE GREAT MYSTERIES
67
Anli
iG^ue leg irons
AnliQue leg e>hacklee>
68
THE GREAT ^ MYSTERIES
Old LncjltsK leg irons
chain 6i j4 long
Tower leg ironp
^\{h boll cincl chain
THE GREAT MYSTERIES
^ear\
handcufj
fiankin Paieni
U. 5.NaLrq leg irons
70
THE GREAT MYSTERIES
Nauu hand £>^ lea irons
fngilsK <^*.»ff
THE GREAT MYSTERIES
71
©) (©
u
Towel* tjingle
lock reacU kcv
Antiq.vje
AnK
jgua
Cum mtnq
n
THE GREAT MYSTERIES
AfiT'^Ui
5ec.n cutj
bean Gioni
Tower
THE GREAT MYSTERIES
73
Ac\oirMj ^ujj
74 THE GREAT MYSTERIES
Comments by the Press
"Oudini," the mysterious second Houdini, will give exhibi-
tions at the Park Square Rink during next week, each afternoon
and evening. On Monday night he will be handcuffed, chained
and shackled, and will free himself. On Tuesday afternoon and
evening he will be placed in a mail bag and handcuffed and
locked with a Corbin lock. On Wednesday afternoon he will
be locked within a galvanized iron boiler, made by the Riverside
Boiler Works. He is open to all challenges and invites in-
spection of all his properties. — Boston Globe, Feb. 2, 1908.
"Oudini," the mysterious wonder, a second Houdini, in mag-
netic gifts, will appear and give exhibitions at the Park Square
Rink this week. By his mysterious power he has mastered all
locks, bolts, bars and straps. On Monday night he will be hand-
cuffed, chained and shackled, and in the presence of all will
free himself.
On Tuesday afternoon and evening he will be placed in a
mail bag and handcuft'ed and locked within the bag, the lock
used being of the Corbin variety. On Wednesday afternoon he
will be locked within a galvanized iron boiler.
He is free to all challenges, and invites inspection of all his
properties in his acts. He will give exhibitions each afternoon
and evening. — Boston Post, Feb. 2, 1908.
"Oudini," who claims to be a worthy rival of Houdini, will
give exhibitions of his mysterious power every afternoon and
evening this week in the Park Square Rink. He will free him-
self from handcuffs, chains, and all manner of shackles in full
view of the audience.. Tuesday he will escape from a mail
pouch in which he has been securely locked.
Wednesday afternoon he will submit to being locked in a
galvanized iron boiler, with the cover set down tightly and
fastened with nuts and bolts. — Boston American, Feb. 2, 1908.
"Oudini," the handcuff expert, will appear at Park Square Rink
'afternoons and evenings during the week. Claiming to be pos-
sessed of magnetic gifts that enable him to free himself from all
bolts, locks and bars, he challenges any person witnessing his
act to lock handcuffs upon him. He has a series of acts ar-
ranged for the coming week that cannot but startle the most
sceptical.
Each afternoon and evening will witness a different perform-
ance, with more difficult acts added to the weekly program. —
Boston Post, Feb. 3. 1908.
THE GREAT MYSTERIES 75
"Oudini's" act yesterday at the Park Square Rink was a thril-
ler, and continues to be as mystifying as all of his performances
have been the past week. "Oudini" was locked securely in
a coffin and escaped from it without even disturbing the seals
which had been placed upon the screws in the lid. Marvelous
is the power of this young fellow. He has released himself
from locks, handcuffs, bolts, bars, chains, and every contrivance
that has been brought to him. His escape from a large boiler
riveted with three-inch bolts and sealed as an extra precaution,
has been his most mystifying act of the week. His challenges
have brought out many home-made contrivances, as well as
the best kind of locks, bars, and chains, but nothing holding
the young man.
Representatives from different machine shops and boiler works
have witnessed the act, and all go away amazed at the perform-
ance. "Oudini" appears afternoons and evenings the rest of
the week. — Boston Traveler, Feb. 7, 1908.
"Oudini the Great" is the popular phrase on the streets since
this man struck this town, and if ever words were true, these
certainly are. He is by far the most wonderful man of his
kind ever seen in this city, for the acts which he performs are
certainly equal> if not superior, to any one of his class. Last
evening he again had the crowd guessing, and one and all went
away with serious thoughts as to the way he got out of the
mail pouch after he had been shackled, chained and locked in
the mail bag. Yesterday afternoon, after he had been put in
the bag, a young man went upon the stage and asked them to
put on a Yale lock which he had in place of the Corbin variety.
At first "Oudini" thought it was unfair for this to be done
to him after he had been put in the bag, but when the young
man said that he was "squeaHng" he consented to use the Yale
lock, was again locked up, put in the bag, and after a delay of
five minutes he apepared much fatigued, but at the same time,
one of the happiest men in the city. There are all kinds of
challenges being received at the theatre box office these days.
To-night he performs one of the most difficult acts, when he
will be put in the huge iron tank, which will be riveted, and will
prove to all when he steps on the stage that he is certainly one
of the wonders of the century. There is nothing but the best
heard about the New Orpheum these days, and the theatre is
gaining a reputation. — Haverhill Gazette, Feb. 12, 1908.
There is no phrase which exactly tells how "Oudini" does
his amazing tricks in such a short space of time. Escaping from
jail, from handcuffs, from packing cases, from trunks, from all
kinds of seemingly impossible barriers, he has mystified hun-
dreds at the New Orpheum this week, and of all who have had
Id THE GREAT MYSTERIES
the pleasure of beholding him at work, none have been able to
fathom the alacrity with which he breaks away from all ties.
Last night the main act was escaping from a boiler, which
had been securely bolted, riveted, and declared utterly impos-
sible by the hundreds in the audience. The young man entered
the boiler with a smiling face, but those who saw him considered
it impossible for him to get out alive. No such unhappy end
was in waiting for the wizard, however, for it was not long
before he stepped to the footHghts, tired, looking somewhat fa-
tigued, but with the proud knowledge that he had conquered.
Henry Lamieux had a pair of handcuffs which he declared
no man could get out of. "Oudini" was the man on the spot,
for with a few twists and a few more turns, he loosed his wrists
from their bonds and received the plaudits of an appreciative
audience.
To-night an act which no one but a dead man has ever at-
tempted will hold the boards, for "Oudini" will escape from a
coffin, and those who have not seen him should not miss this
opportunity. Challenges are coming in thick and fast, some of
them being : From C. W. Foster to get out of a piano box, also
challenges from the five and ten-cent store, Simonds & Adams,
and from the shippers in Winchell's. — Haverhill Gazette, Feb. 13,
1908.
"Oudini the Uusurpassed." But there is no phrase which
exactly tells how this wonderful man from Boston does his
amazing tricks in such a short space of time in escaping from
jail, from handcuffs, from packing cases, from trunks, and from
all kinds of seemingly impossible barriers. "Oudini" has mys-
tified hundreds at the New Orpheum this week, and of all who
have had the pleasure of beholding him at his work, none have
been able to fathom the alacrity with which he breaks away
from the ties.
Last night the main act was escaping from a boiler which
.had been securely bolted, riveted, and declared utterly impassable
by the hundreds in the audience. The young man entered the
boiler with a smiling face, but those who saw him considered it
impossible for him to get out aHve. No such unhappy end was
in waiting for the wizard, however, for it was not long before
he stepped to the footlights, tired, looking somewhat fatigued,
but with the proud knowledge that he had conquered.
Henry Lemieux, a local man, had a pair of handcuffs which
he declared no man could get out of. The crafty "Oudini" was
the man on the spot, for with a few twists and a few more
turns he loosed his wrists from the bonds and received the
plaudits of an appreciative audience.
To-night, an act which no one but a dead man has ever at-
tempted will hold the boards, for "Oudini" will endeavor to
escape from a coffin, and those who have not seen this wonder-
THE GREAT MYSTERIES 77
ful man should not miss the opportunity this evening. Chal-
lenges are coming in thick and fast, some of thern being : From
C. W. Foster to get out of a piano box, also challenges from the
five and ten-cent store, Simonds & Adams, and from the ship-
pers at J. H. Winchell's.— //az;^rA/// Record, Feb. 13, 1908.
Accepting the challenge issued by "Oudini," who' is performing
at the Orpheum the shipping clerks at J. H. Winchell & Go's, shoe
factory say they will furnish that gentleman with a box next
Tuesday evening and will bring it to the theatre at any hour the
management may decide upon. The only condition that the
clerks make in accepting the challenge is that no one handle the
box up to the minute that "Oudini" steps into it. This they con-
sider a reasonable request and they await an acceptance. — Haver-
hill Gazette, Feb. 15, 1908.
There is great popularity and applause greeting "Oudini," the
mystifier, who is appearing at the Orpheum this week. Last
night, before one of the largest crowds of the week, the hand-
cuff king escaped from a wooden packing case, six by four feet,
after it had been securely nailed and fastened. Everyone was
astonished at the great act, which he challenged anyone to dupli-
cate. Tonight the novel feat of getting out of a paper box will
be attempted by the wizard. — Haverhill Gazette.
"He is certainly a wonder." This was the phrase that was
heard on all sides last evening at the New Orpheum of those
Xvho were able to gain admittance to the theatre to see "Oudini."
The news that he was to perform in this city spread like wild-
fire, and so great was the crowd that it was impossible for all
to gain admittance, and many had to retreat and will no doubt
be at the theatre this evening to see him. He did all kinds of
tricks yesterday, and one of the first was getting out of Patrol-
man Sullivan's handcuffs. These were placed on him by Patrol-
man Ryan of the night force, and, although he had a hard time,
he was out of them in exactly nine minutes. Last evening he
got in some of his finest work. He was handcuffed, chained
and shackled by Officer Kelly, and after four minutes' time he
was out of them, to the surprise of the crowd. Tonight he is
due to get out of a United States mail bag, but, besides being
locked in the bag, he will also be shackled and chained by mem-
bers of the audience. He has a pair of handcuffs which Patrol-
man Denoncour says he cannot get off, and these, he claims, he
will get out of this evening. The patrolman has told many that
nobody has ever been able to get out of them, and doubts if he
ever will. Another feature already mentioned is that Harry
Lemieux has another pair of handcuffs which three handcuff
kings have been unsuccessful to get out of, and he says that
he knows he will not be able to get out of them. He has ac-
78 THE GREAT MYSTERIES
cepted the challenge and will take them off Wednesday evning
at 8 o'clock, at which time two members of the police force will
put them on him. Haverhill Gazette.
"Oudini," the handcuff wonder of the age, will appear at Park
Square Rink afternoons and evenings during the week. Claim-
ing to be possessed of magnetic gifts that enable him to free
himself from all bolts, locks and bars, he challenges any person'
witnessing his act to lock handcuffs upon him. He has a series
of acts arranged for the coming week that cannot but startle
the most sceptical. This afternoon and evening he will be placed
in a mail pouch, and before being locked in this pouch or bag,
he will cause himself to be shackled and handcuffed. In due
time he will free himself from the bag and appear unhandcuffed
and unshackled. "Oudini" will be locked in an iron boiler and
also in a coffin, in different performances. — Boston Post.
"Oudini week at the Orpheum." That item is enough to fill
the house to the doors at every performance and if the noted
handcuff wonder gets the houses that he got all last week in Bos-
ton the New Orpheum will not be able to hold the large au-
diences. This man is perhaps one of the world's greatest wonders,
and the acts which he will do are nothing more than marvellous.
He does things that to all appear to be an uncertainty. His first
act will be at 8 o'clock this evening when he will be handcuffed,
chained and shackled by anybody in the audience. He will then
get out of the chains, etc., in a most simple manner but at the.
same time in such a way that it will mystify all. He will give
another performance at 9 o'clock when he will repeat the same
act. The next entertainment by him will be at 3 o'clock Tues-
day afternoon when he will be put in a mail bag which will be
locked with one of the famous Corbin locks. This is a big attrac-
tion for the theatre and while it was at a big cost to get him here
the management are only trying to get the best entertainment
2iV^{\dh\^.— Haverhill Gazette, Feb. 10, 1908.
"Oudini." Were you one of the many at the theatre last
evening? H you were, you were certainly repaid for going, as all
seemed to have a smile, but at the same time a mysterious look
as to the way that he got out of the casket. Now, tonight he
has some other big feats, and the kind that will j)lease you, make
you happy and send you home perplexed. Just take a stroll to
the cozy theatre and see him get out of a box. You have seen
him do other things, but this is the best one of all. Do you
want to assist in putting him in it? Well, you can if you so
desire, and then you can make sure he won't get out. Remember,
there are only two more nights of the GREAT OUDINI.—
Haverhill Gazette, Feb. 14, 1908.
THE GREAT MYSTERIES 79
"Oudini!" Has he got you guesssing? Well, you don't know
what you are missing if you don't see this man. He is the
wonder of the age. It was great to see hin) get out of the tank
last night. And he let some of the fellows in the audience rivet
on the lid! That didn't cut any ice. He got out just the same.
It took him some time, but he proved that he is there with the
goods. And say. Did you see Henry Lemieux last night after
"Oudini" got out of his handcuffs? Somebody said that he
jumped the town he felt so bad after all the talk he has made
about "Oudini" not being able to get out of them. Didn't the
audience enjoy it? Well, I guess they did, the way that they
applauded him. But tonight is the event of the week. He is
going to be put in a casket and the lid is going to be rivited on.
Now, you can help if you desire, and then see how you will feel
when he comes out and shakes hands with you. Nuf sed. — Hav-
erhill Gazette, Feb. 12, 1908.
"Oudini !" Tell the truth now — don't you think this man is a
wonder? He certainly has them all beat. "Bill" Denoncour has
got the blues today, — "Oudini" got out of his handcuffs in two
minutes last night, — it was a treat for the packed house to be
sure. They locked him up in a cell at the police station last
night, — They said he never would get out, — It was cell No. 2, one
of the best at the station, — He came out and shook hands with
the fellows in 26 minutes — what do you know about that? Well,
come up tonight and see him get out of the big boiler tank, — He
will be riveted in, — You can do the riveting if you desire, — Then
wait and see him come out, — that is what counts, and they all
leave with the same remark : "He's a wonder." Henry Lemieux
says that his handcuffs will halt "Oudini," tonight. Come and
see if they do.— Haverhill Gazette, Feb. 12, 1908.
"Oudini." Have you seen him? No? Well, if you haven't,
drop around tonight and be prepared for the surprise of your
life. Talk about your stunts. He puts John L. in the shade.
All the cops in this burg were fooled by the little fellow at the
theatre around the corner. He had 'em all guessing. Take her
down this evening, but keep this pipe under your lid — "Oudini"
has the berries. You should have seen him escaping from the
big box last night. Nothing to it. Go on the stage if you want'
to, you can fix him in — then keep your weather optic peeled —
he'll get out. Now, you wise ones, get next; grasp this chance
and step in. — Haverhill Gazette, Feb. 15, 1908.
Just gaze upon these features, the most noted man in the world !
The great handcuff king, "Oudini," the man who has set the folks
of Haverhill talking. The only man who ever got out of a locked
cell at the local police station. Come up tonight and see him get
out of a casket. No locks in this — it will be screwed in and
86 THE GREAT MYSTERIES
stamps put over the tops in order to seal them. You can as-
sist if you desire. He has fooled thousands. See if he can fool
you. Another surprise for you tomorrow night. Come up and
see him get out of a box. You can tie it up in as many knots
as you desire. Nevertheless he will get out and you will never
even have an idea as to what a wonder he is until you come
and see him. — Haverhill Record, Feb. 13, 1908.
"Oudini" the handcuflf wonder will be at the theatre all this
week. Come and see how easy he gets out of the handcuffs and
shackles tonight at 8.30. He will get out of a mail bag at 3.00,
8.00 and 9.00 o'clock tomorrow.— Haverhill Gazette, Feb. 10, 1908.
"Oudini" the man who performed to the biggest crowd in the
history of the theatre last night, will get out of a mail bag this
evening, after being chained and shackled. Hfe will also get out
of a pair of Patrolman Denoncour's handcuffs — Bill says he can't.
Come up and see him. Henry Lemieux says that he has a pair he
can't get out of — "Oudini" says he will Wednesday night at 8.30.
There are all sorts of challenges coming in at the box office —
Have you one? If so send it in. Remember the time — 3.30 p. m.,
8.00 p. m. and 9.00 p. m.— Haverhill Gazette, Feb. 11, 1908.
PROGRAM USED AT PARK SQUARE, FEB. 3, 1908.
"Oudini" week at the Rink. — Monday afternoon and evening,
Feb. 3, The Mysterious Wonder will be handcuffed, chained and
shackled. Come and see how easy he gets out of them. He
challenges any person in the audience to lock them' on him.
Tuesday afternoon and evening, Feb. 4, "Oudini" will be hand-
cuffed, locked and strapped in a Mail Bag. The lock used in
this act will be one of the famous Corbin locks.
Wednesday afternoon and evening, Feb. 5. This is the only
act of its kind ever presented to the public. He will be placed
in. a galvanized iron boiler, made by the Riverside Boiler Works.
It is riveted and made to hold one hundred gallons of water,
such as is used in any of the large hotels in the world. The
cover sets inside, and it will be fastened together with two-
inch bolts.
Thursday afternoon and evening, Feb. 6. "Oudini" will be
placed in a coffin, the cover will be secured and fastened with
three-inch screws, a seal of a United States stamp will be placed
at the head of each screw.
Friday afternoon and evening, Feb. 7. "Oudini" will be
nailed in a wooden packing case, 6x4 feet. His manager will be
on the stage to challenge any person in the audience to dupH-
cate this act.
Saturday afternoon and evening, Feb. 8. "Oudini" will startle
you ; he is going to get into a paper box ; it will be tied up with
ropes. You are invited to come up on the stage and tie him up.
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